An extraordinary and stunning film. Set in pre-war Vietnam this is an ode to a beautiful and simple way of life where total pleasure exists in simply living. Every scene is beautifully and meticulously captured with an extraordinary attention to detail. Close-ups of insects and plants are entirely appropriate as is the avant-garde soundtrack featuring piano and strings. Utterly timeless and compelling.
Another beautiful film. Slow metamorphosis of a house servant girl in prewar Vietnam. Wonderful cinematography and effective characterisation. The detailing of the set takes the cake. A delightful experience for those who like to savour a movie like classic tea or wine. Rich on the senses and soothing on the mind. Serves as a relaxant after a long day.
It's truly beautiful visually - the house, its interiors and the plants and animals - but it has to be taken as a sort of Cinderella fairy tale or a children's story as the characters are all 2-dimensional and the last third with the (bad) pianist rescuing the lovely Miu from her lowly status is dire.
Deep and delicate, gracefully directed. Outstanding cinematography and photography. What a joy of the sight! Mui's beauty is reflected in every single detail, turning ordinary things into meaningful poetry. I enjoyed all those moments of silence as much as the music that ties the soft narrative.
What a treat for the senses. It's the chirp of crickets and birds; it's the soft breeze blowing through the mosquito net in the summer sultriness. It's the silent observation of life, flowing across the frame. Slow pace, gorgeous images. I fell in love with the soft sounds, light and colors, and with those wonderful tracking shots and rack focuses. The last part's weaker – but I guess In the mood for love began here.
Tran's later films have been far more interesting stylishly than substantially but his debut, winner of the Caméra d'Or at Cannes in 1993, is a wonderfully shimmering piece of low-key drama. All the more impressive that it was filmed in a studio in Paris with a cast who had never set foot in Vietnam at the time.
La beauté magnifiée de tous les plans, le charme de cette vie là, la chaleur qui perle sur la pellicule et l'incroyable présence des choses et des êtres Peu à peu tout s'étiole dans la profonde banalité du scénario qui fait fi de tout, de l'histoire coloniale, nous vendant 'une lutte des classes "apaisée" et qui nous mène vers l'invraisemblable, aussi bêtement qu'une pièce de boulevard. Dommage pour nous.
that is not saigon. that is not how vietnamese people talk(ed) to each other. 10 years ago, missing the first sequence, i was totally convinced that the film was set in some northern rural town and hence merely weirded out by the accents. 10 years later, i am baffled by all the praises for this film despite such level of fake and viet kieu-ness presented all over the film.
This movie is so relaxing. The cinematography is transcendent because every frame is really beautiful and the choice of shots is really peculiar, showing the protagonists curiosity and always giving the spectator interesting details. The traveling after the pianist closes Mùi's door really got to me. And what a wonderful work of mise-en-scène, isn't it?